540 The Architectural Review and American Builders' Journal. [Feb. the mode of Painting upon Glass, iu the following manner : Before any one begins to paint upon Glass, the whole subject is to be drawn and colored upon paper. Then such pieces of glass are chosen, as are fit for painting the figures in portions, so that the pieces ma}' join in the outlines of the body, and the folds of the draperies, in order that the lead, which is used to hold them together, may not spoil the carnations, nor the most beautiful parts of the draperies. When all the pieces are cut, accord- ing to the design, and agreeably to the size of the work, they are to be marked with numbers or letters, to know thein again. Then every piece is to be painted with color, in accordance with the de- sign, which the painter has before him. Sometimes the painting is done only in white and black; and then both the style and the glass embodying it are called Grisaille. In the ancient glass, some very beau- tiful and extremely lively colors are seen, which are not to be found now. It is not, that the invention is lost, but because persons will not risk so great an expense,_oj* take the necessary pains to make them, since, in fact, labor is not dearer in this department than hereto- fore. These fine pieces of glass, as made in the glass-houses, were of two sorts. Some were entirely colored, that is to say, where the color was spread through all the mass of glass ; but others, which the workmen used commonly and more willingly, had the color only on one side, into which it penetrated, more or less, according to the nature of the colors, for yellow enters deeper than the others. Although these last did not contain colors so lively and bright as the former, they were more convenient for the glaziers, because upon the same jrriece of glass, although already colored, they were accustomed to employ other colors, when tey wanted to ornament the draperies, to enrich them with flowers, or to represent other decora- tions of gold and silver. For this purpose they used emery, with which they rubbed the piece of glass on the side which was already charged with color, till they discovered the white glass— according to the work they de- signed to produce— after which, they covered with yellow, or such other color as they pleased, the opposite sicle of the glass ; that is to say, where it had remained white from the beginning, and where they had not scratched it with emeiy. This method they ob- served, to prevent the new colors from mixing with the others, when the pieces of glass were put into the fire. Painting on glass is performed with the point of a hair pencil, especially for the carnations ; and the colors are laid on, tempered with water and gum, in the same manner as is done in miniature. When any one paints on white glass, and wishes to give smart touches, to mark the hairs of the beard, the hair of the head, and other strong lights, whether it be on the draperies, or elsewhere, he makes use of a little point of wood, the end of the handle of the pencil, or a pen, to take away, from the back of the glass, the color, which had been put in the places, where he means that none should appear. So far Felibien, whom we shall take up again, for a second and a third arti- cle, upon this general subject. To such of our readers as live remote from the larger cities, we may be allowed to say that, while the above very faithfully represents the mediaeval method, the moderns are able to make as free pic- tures upon glass as upon canvas, but for church effects, often follow the style of the days of yore. Upon the modern method we shall probably give iu the early future a number of original arti- cles, by one of the present adepts, which those who have read the papers by Mr. John Gibson, in former numbers, will be eager to peruse.
